Treble; Middle - Mesa/Boogie pmn Owner's Manual

CONTROLS:
2.) GAIN - In conjunction with theTone Controls - Basically, a simple rule applies...as the Gain is increased the Tone control string
has less and less effect on the signal until at 5:00 the signal is so saturated that you are getting mostly Gain and very little Tone. Again,
this is the reason we suggest using the GAIN Control in its middle region. Here the Tone control string is very active and provides
maximum shaping power - allowing you to dial virtually any sound you desire.

TREBLE:

As in most tube guitar amplifiers, the TREBLE Control ( in both channels of your RECT-O 50 ) is the most powerful
of the rotary controls and is next in line only to the GAIN Control as a shaping tool. Because it is first in the signal path of the tone
controls - and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason the setting of
the TREBLE Control is very important for equal representation of the three frequency regions to appear at their respective controls.
Like most of the controls on your RECT-O 50, there is an optimum region of the TREBLE Control where ample top end is mixed in
and yet enough signal is still passed on to the MIDDLE and BASS Controls.
Between 11:00 and 1:30 is where you'll find the sweet spot . There are definitely great sounds above and
below this middle region, but the balance between the TREBLE Control and the other two tone controls is
TREBLE GAIN
compromised.
The one place you may want to throw caution to the wind and set the TREBLE Control above this median
zone presents itself in Channel 1 of your new RECT-O 50. In both modes ( Clean & Pushed ), the TREBLE
HEAD VERSION
Control can be used to dump extra gain into the mix. This is especially effective in the PUSHED mode for
crunch sounds. When doing so use the PRESENCE Control to roll off some of the more than ample top end
for a more compressed feel and fatter voice. As you might surmise, the BASS Controls' effectiveness will be reduced, so you may
have to run a much higher setting than you are used to seeing to achieve a balance.This said, keep in mind that the TREBLE Control
in Channel 1 Pushed should not be set much above 2:30 to avoid unwanted microphonic tube problems.
MID:
The MID Control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as
that of the TREBLE Control, it plays an integral part in achieving any sound in your RECT-O 50. It is capable of changing the feel
dramatically as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play.
Most players tend to lean in the direction of lower MIDDLE Control settings ( 7:00 - 11:00 ) where a scoop in
this region produces girth ( by letting the Bass become a little more dominant ) and a lack of punch lends a
more compressed, even feel to the strings and therefore less apparent resistance to the pick. As the
Control is increased, ( 11:30 - 1:30 ) the sound is rounded-out and filled-in with a focused mid attack appear-
TREBLE
MID ing rather quickly. As you would guess, the feel starts to change - becoming more resistant. Above this region
the MIDDLE Control could be used to compensate for either weaker pick-ups or for times when a specific
deficiency is produced by either an extremely high setting of other tone controls, or a physical anomaly in the
room. While these MIDDLE Control settings ( 2:00 - 5:00 ) can introduce added gain and create enhanced
focus, the trade-off will be a stiffer, more forward, less compressed feel.
HEAD VERSION
Channel 1 utilizes a different MIDDLE Control than that of the Channel 2 with a custom-designed taper and value. In its low range
( below 12:00 ) it functions as a normal midrange control with a taper suited to blending fine increments of these frequencies. Most
players lean toward a fairly radical scoop ( 7:00 - 10:30 ) for clean playing, preferring to let Treble and Bass remain dominant, thus
producing the signature sparkle and breath essential for a pristine clean sound.
(Continued)
even even feel to the strings and therefore less apparent resistance to the pick. As the
PAGE 5

MIDDLE